TkH @ Volt gallery, Bergen (Norway) / SOCIAL CHOREOGRAPHY AND SOCIAL DRAMA (a dialog) by Ana Vujanović & Bojana Cvejić

 

 

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In 2010, Ana Vujanović and Bojana Cvejić initiated a theoretical-artistic research Performance and the Public in the frame of TkH [Walking Theory] three-year long project How To Do Things By Theory at Les Laboratoires d'Aubervilliers cultural centre in Paris. In the current phase of the research, Ana Vujanović, Bojana Cvejić and Marta Popivoda focus on “social choreography” and “social drama”. Throughout 2011 and 2012 the research has been presented through various working and public formats in Amsterdam, Berlin, Paris, Novi Sad and now it will be presented in a form of a lecture in Volt gallery in Bergen, Norway.
 
Ana Vujanović & Bojana Cvejić
SOCIAL CHOREOGRAPHY AND SOCIAL DRAMA (a dialogue)
 
Friday, September 14 at 4pm
Hordaland kunstsenter, café
more info: www.kunstsenter.no/en/samtale-ana-vujanovi-bojana-cveji
 
 
If the body I dance with and the body I work and walk with are one and the same, I must necessarily entertain the suspicion that all of my body’s movements are, to a greater or lesser extent, choreographed.
 
This would be a concise statement of the social choreography thesis, as Andrew Hewitt develops it in Social Choreography: Ideology as Performance in Dance and Everyday Movement (2005). Social drama, as developed in social anthropology by Victor Turner in the 1970s serves as a complementary counterpart to social choreography, which analyzes conflictual social processes, focusing on organization of public performances that take place in the frame of social dramas. Social choreography and social drama then become interpretative tools for exploring the performances in the public on the basis of their claim that social order isn’t just reflected but is enacted and rehearsed as an aesthetic order. The two models focalize bodily gestures and movements, organization of bodies in time and space, mise-en-scène, and dramaturgy of public gatherings and mass social events and thus discuss the functions of “communitas” in shaping social community between the public and the private spheres. In this phase of the research, we examine state performances as well as performances of the public and its citizens informed by two different contexts, socialist Yugoslavia and contemporary Western neoliberal capitalism.
 
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Ana Vujanović i Bojana Cvejić su 2010. godine pokrenule istraživanje Izvedba i javnost u okviru trogodišnjeg projekta Teorije koja Hoda How to do Things by Theory (Kako delovati Teorijom) u kulturnom centru Les Laboratoires d’Aubervilliers u Parizu. U tekućoj fazi istraživanja, Ana Vujanović, Bojana Cvejić i Marta Popivoda se fokusiraju na “društvenu koreografiju” i “društvenu dramu”. Ovo istraživanje je tokom 2011. i 2012. predstavljeno kroz različite radne sesije i javne događaje u Amsterdamu, Berlinu, Parizu, Novom Sadu, a sada ce biti predstavljeno u formi predavanja u galeriji Volt u Bergenu u Norveškoj.
 
 
Ana Vujanović i Bojana Cvejić
DRUŠTVENA KOREOGRAFIJA I DRUŠTVENA DRAMA (dijalog)


Petak 14. septembar u 16.00
Hordaland kunstsenter, café
više informacija na: www.kunstsenter.no/en/samtale-ana-vujanovi-bojana-cveji
 


Ako su telo kojim plešem i telo kojim radim i hodam jedno te isto telo, nužno moram da posumnjam da su svi pokreti moga tela manje ili više koreografisani.
 
Ovo je koncizno formulisana teza društvene koreografije, onako kako je razvija Andrew Hewit u knjizi Social Choreography: Ideology as Performance in Dance and Everyday Movement (2005) (Društvena koreografija: ideologija kao performans u plesu i svakodnevnom pokretu). Društvena drama, kako je u okviru socijalne antropologije razvija Victor Turner u 1970im služi kao komplementarna protivteža društvenoj koreografiji, i analizira konfliktne društvene procese, fokusirajući se na organizaciju javnih izvedbi koji se događaju u okviru društvenih drama. Društvena koreografija i društvena drama tako postaju interpretativne alatke za istraživanje izvedbi u javnosti na osnovu tvrdnje da društveni poredak nije samo izražen već i odigran i isproban kao estetski poredak. Dva modela proučavaju telesne geste i pokrete, organizaciju tela u vremenu i prostoru, mizanscen i dramaturgiju javnih okupljanja i masovnih društvenih događaja a tako i razmatraju funkciju “communitas”-a u oblikovanju društvene zajednice između javne i private sfere. U ovoj fazi istraživanja ispitujemo državne izvedbe, kao i izvedbe njenih građana i javnosti u dva različita konteksta: socijalističke Jugoslavije i savremenog zapadnog neoliberalnog kapitalizma. 
 
 

 

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